ding in one hand a sword, in the other a rose.

60. PALL MALL MAGAZINE, JUNE 1893.

I. Of a Neophyte, and how the Black Art was revealed unto him by the
Fiend Asomuel. Full-page illustration in pen and ink. Asomuel,
meaning insomnia, was a neologism of the artist's own devising,
made up of the Greek _alpha_ privative, the Latin _somnus_, and
the Hebrew _el_, for termination analogous to that of other
spirits' names, such as Gabriel, Raphael, Azrael, etc.,
reproduced in "Early Work," July 1893.

II. The Kiss of Judas. Full-page illustration in pen-and-ink. Reproduced
in "Early Work."

61. LA COMEDIE AUX ENFERS, pen and ink, published in "Modern Illustration,"
by Joseph Pennell. (G. Bell & Sons, 1895.) Imp. 16mo. 1893.

62. I. EVELINA, by Frances Burney. (Dent & Co., 1894.) Design in outline
for title-page.

II. EVELINA AND HER GUARDIAN, design for illustration, pen and ink and
wash, 6-7/8 x 4-7/8 (exclusive of marginal lines), not published.

III. Another illustration for the same, "Love for Love," a wash drawing,
7-1/2 x 5-1/4, unpublished. 1893.

63. VIRGILIUS THE SORCERER. David Nutt, 1893. Frontispiece to the large
paper copies only. Reproduced in "Early Work."

64. THE LANDSLIP, frontispiece to "Pastor Sang," being William Wilson's
translation of Bjoernson's drama, "Over AEvne." Longmans & Co., 1893.
A black and white design, in conscious imitation of Albert Duerer,
as the peculiar form of the signature A. B. shows, the only occasion
on which the artist employed this device. Reproduced in "Early Work."
(Property of Messrs Shirley & Co., Paris.)

65. BON MOTS. 3 VOLUMES. DENT & CO., 1893.

I. Title-page reproduced in "Later Work."

II. Figure with fool's bauble, and another small ornament for the cover.

III. 208 grotesques and other ornaments in the three volumes. Some of
these, however, are repeated, and some printed in different sizes.
Three of them reproduced in "Later Work." In an article by Max
Beerbohm in the _Idler_, May 1898, accompanied by "some drawings
that have never before been reproduced," are nine small vignettes
of the "Bon Mots" type, of which number three only are explicitly
ascribed to "Bon Mots" (A sheet of them belongs to W. H. Jessop,
Esq. Nineteen are the property of Pickford Waller, Esq.)

66. FO